Media

Inside The Washington Post’s Social Media Meltdown – Vanity Fair

Published

2 years ago

June 9, 2022

A flurry of Twitter flare-ups and Slack spats involving Post journalists, along with a controversial suspension, have upended the newsroom and are presenting a major test for executive editor Sally Buzbee, who urged staff Tuesday to “be constructive and collegial.”

By Charlotte Klein

June 8, 2022

The exterior of The Washington Post via Getty Images building at One Franklin Square on December, 16, 2015 in Washington, DC. By Bill O’Leary/The Washington Post/Getty Images.

On Tuesday afternoon, Washington Post reporter Josh Dawsey tweeted that he was “proud” to work at the paper, a place “filled with many terrific people who are smart and collegial.” Four minutes later, reporter Rosalind Helderman, too, tweeted that she was “proud” to work at the Post, which is “always striving to be better than it was yesterday.” Six minutes later, another reporter, Amy Gardner, tweeted how she was “proud” to work at the paper, followed by other top journalists at the publication, such as Matt Viser, Carol Leonnig, and Dan Balz.

The public outpouring of Post pride—which I’m told political reporters were urging one another to take part in—followed executive editor Sally Buzbee’s memo reiterating workplace policies and promoting collegiality among staff. The memo dropped following a few days at the Post that have been, as one reporter described it, a “clusterfuck.” Dave Weigel, a national political correspondent, is, as of Monday, suspended without pay for the next month after retweeting a sexist tweet last week, which he then promptly unshared and apologized for after a colleague called him out both on the company Slack and publicly. Hours after news of Weigel’s suspension broke Monday, that colleague, political reporter Felicia Sonmez, was urging the paper to take action against a different colleague, Jose Del Real, who on Saturday took aim at Sonmez for “the cruelty you regularly unleash against colleagues.” (He made this point after commending Sonmez for “your bravery in sharing your story,” adding, “I support your fight against retribution for doing so.”)

Meanwhile, in another corner of Twitter on Saturday, Taylor Lorenz—the star Post tech writer and social media lightning rod—was explaining how a “miscommunication with an editor” resulted in an error in a recent Post piece while also hitting back against critics and CNN reporter Oliver Darcy, who was covering the incident.

The Post drama spilling out publicly onto Twitter has upended the newsroom, where there’s no shortage of opinions on the continued fallout. “I think Felicia initially was right—that was a gross Dave Weigel tweet, and we were all grateful she called attention to it,” one Post staffer told me. The problem, the staffer added, was in “continuing to make it an issue and go after more and more colleagues.” And as a reporter said of Lorenz: “Taylor is very talented, but her personal antics frequently overshadow her journalism.”

Sonmez, Lorenz, and Weigel declined to comment for this article.

The social media meltdown has turned the spotlight on Buzbee, who just last week celebrated her one-year anniversary as the paper’s top editor. Staff use of Twitter bedeviled Buzbee’s predecessor, Marty Baron, who took issue with how journalists, including Sonmez, used Twitter, but failed to enact a new social media policy. (Other legacy publications, such as The New York Times, have likewise been tested by the social media use of their reporters—something Dean Baquet talked about often, especially on his way out.) The consequences of that inaction are now falling on Buzbee, as the Post’s social media policy is “so intermittently enforced, or not at all, that it leaves it to the most extreme characters to end up getting us into these kinds of situations,” one reporter said.

In the Tuesday memo, Buzbee stated shared newsroom values and emphasized how employees should treat one another. “We do not tolerate colleagues attacking colleagues either face to face or online. Respect for others is critical to any civil society, including our newsroom,” she wrote. “The newsroom social media policy points specifically to the need for collegiality.”

“In the last year, we have enforced, through conversations, mediation and disciplinary measures, egregious violations of our social media policy, just as we have enforced our overall standards,” Buzbee added. “As we have said, we plan to update the social media policy. Until then, the current policy remains in effect. It states: When it comes to your colleagues, be constructive and collegial: If you have a question or concern about something that has been published, speak to your colleague directly. We respect and do not wish to inhibit any employee’s right to raise legitimate workplace issues. We know it takes bravery to call out problems. And we pledge to openly and honestly address problems brought to us. We moved quickly to show our intolerance for a sexist re-tweet sent by an employee last Friday.”

While a number of Post journalists turned to Twitter to praise the paper, one I spoke to was less than impressed with Buzbee’s memo, as it not only felt like a read-out of preexisting social media policies but also failed to explain the inconsistency—why Weigel had been suspended but not Sonmez or Del Real, both of whom had arguably violated the nondisparagement rule she cited in the email.

And it was immediately clear that Buzbee’s email had no effect on Sonmez, who hours later was not only still going at Del Real but also deploying Buzbee’s own language to do so. “So I hear The Washington Post is a collegial workplace,” she said, with a screenshot showing Del Real had blocked her. Followed by: “These tweets falsely accusing me of ‘clout chasing,’ ‘bullying,’ ‘cruelty’ and directing an ‘eager mob’ to carry out ‘a barrage of online abuse’ are still up … even after I repeatedly raised them to management and noted that I’ve been receiving threats and abuse. Collegial!” To which Lisa Rein, another reporter at the Post, responded, “Please stop.”

Buzbee’s memo raises questions about whether additional Post staffers may be disciplined. Addressing the overall situation in recent days, the Post’s communications chief, Kris Coratti, told me Wednesday: “While we have not commented publicly, this is being addressed directly with the individuals involved.”

Sonmez has a history of taking the paper to task. Last year she sued the Post and some of its highest-ranking newsroom members for temporarily preventing her from covering sexual-misconduct stories after she publicly identified herself as a sexual assault victim; the case was later dismissed. Lorenz was also known for mixing it up on social media prior to the Post scooping her away from the Times earlier this year.

But the two Twitter-fueled controversies playing out simultaneously emphasize the extent to which social media policy, or lack thereof, has become a headache for the Post. The paper has barely updated its social media guidelines since they were issued more than a decade ago, despite management acknowledging the need to do so. Meanwhile, the flurry of tweets and Slack messages, as well as staff assurances and apologies, suggests there isn’t an effective channel for raising concerns about inappropriate behavior at the Post, or at least not one staff are utilizing.

Here’s how things played out: On Friday afternoon, Sonmez called Weigel out for his tweet, first in an internal Slack channel and then, two minutes later, on Twitter. Within 90 minutes, Weigel had apologized and taken down the tweet, and National editor Matea Gold (who replaced Steven Ginsberg, whom Sonmez named as a defendant in her suit) had, in the same Slack channel, put out a note to “assure all of you that The Post is committed to maintaining a respectful workplace for everyone” and “we do not tolerate demeaning language or actions.”

Twenty-four hours later, Sonmez was still tweeting about a lack of accountability. “Imagining a world where news organizations evenly enforce their social media policies, rather than allowing certain reporters to feel entitled to tweet racist/sexist things without fear of repercussions, thus turning their colleagues into targets of online hate when they object,” she wrote. Minutes later, Del Real got involved. “Dave’s retweet is terrible and unacceptable. But rallying the internet to attack him for a mistake he made doesn’t actually solve anything. We all mess up in some way or another.” Buzbee on Sunday morning sent a memo to staff that said, without mentioning Sonmez or Del Real by name, to be respectful and to bring issues to H.R. or leadership—a response that one reporter called “meaningless,” and that Sonmez said on Twitter “provide[d] fodder for *more* harassment.”

Come Monday morning, some staffers were waiting to see if there’d be a firmer message from leadership. Meanwhile, another staffer, video technician Breanna Muir, who three months ago was misidentified on Twitter as Breonna Taylor by a colleague (who publicly and privately apologized for the error), had replied-all to Buzbee’s Sunday memo. Her note to the entire newsroom included a screenshot of that tweet, as well as one of Weigel’s retweet, and praised Sonmez “for speaking out against harassment, discrimination and sexism.” Meanwhile, Sonmez was still tweeting. Hours later, news of Weigel’s punishment broke. The reaction was mixed among journalists. Some praised Sonmez for demanding accountability. Others felt like the Post caved to pressure or, at the very least, overreacted in the heat of the moment. “The paper has put optics and politics before ethics and fairness,” tweeted New York magazine’s Olivia Nuzzi.

The Post’s guild responded Tuesday to the disputes playing out online. “Guild leadership has tried hard to run our union in a way that centers kindness, respect, fairness, and empathy while holding people and institutions we care about accountable. It’s our hope that all Washington Post employees keep that in mind when one of us makes a mistake and we are tasked with being part of the accountability process,” Katie Mettler, who has been cochair of the Post Guild for more than three years, told me. “In the last few years, hundreds of guild members—often led by women and people of color—have worked relentlessly and thoughtfully together to advocate for more fair and inclusive systems at the Post.” She added, “We are doing the work to hold all our institutions and ourselves to a high standard, and we will keep doing that work in ways big and small, public and private.”

In the past, Sonmez has had widespread support in the newsroom; hundreds of colleagues signed a letter on her behalf in 2020, after Baron suspended her for tweeting an article detailing a rape allegation against NBA legend Kobe Bryant shortly after his death. (A “newsroom revolt” is how this publication described it at the time.) Soon after the paper’s guild sent that letter to management, she was reinstated. But since then, there have been multiple instances of Sonmez calling out the paper publicly—and she has done so internally in response to a staff email as well.

About two weeks ago, Gold, the National editor, sent out an email urging colleagues to “take time to assess how you are doing” and “seek help if you need to talk to someone” in the wake of the mass shootings in Buffalo and Uvalde and the anniversary of George Floyd’s murder. “Just a reminder that I was punished after I told an editor that I had to take a walk around the block after reading a difficult story,” Sonmez replied—to the entire National staff—according to emails reviewed by Vanity Fair. One reporter noted that Sonmez has said both publicly and privately that she’s still at the Post because she wants to help fix things. “Discouraging reporters at the Post from seeking help they need—that’s actively being part of the problem,” they told me. “This idea that she’s fighting for sexism and gender, while that might have felt true at some point, now just rings disingenuous, even for people who want to give her the benefit of the doubt.”

The thrust of Sonmez’s critique over the past few days has been about how the Post holds different journalists to different standards, and what message that sends about the Post’s values. Sonmez tweeted Sunday that Del Real had “publicly attacked” her for highlighting Weigel’s sexist retweet, writing, “When women stand up for themselves, some people respond with even more vitriol.” In another tweet in the thread, she dismissed the idea that objecting to sexism was “clout chasing”—Del Real’s words—and tagged Buzbee and Gold to ask if the paper agreed with her. On Monday and Tuesday, she was once again urging management, via Twitter, to intervene.

“Working at a huge news organization—the Post, The New York Times, CNN—is like living in a big city where there are always emergencies,” one staffer said. An embarrassing correction for the Styles desk might be a fire; a story the Times beats the Post on, a flood. “As a colleague, you probably should be trying to help fund the fire department or city services and make it a better place to live; at worst, you’re not paying your taxes,” they continued. “And then you have Felicia, who is essentially pouring gasoline on every fire and inviting people to watch.”

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Bayo Onanuga battles yet another media – Punch Newspapers

Published

4 days ago

October 31, 2024

Harry Miller

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Bayo Onanuga battles yet another media Punch Newspapers

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Blood In The Snow Film Festival Celebrates 13 Years!

Published

2 weeks ago

October 22, 2024

Sasha Stoltz

Blood in the Snow FILM FESTIVAL

Celebrates

13 YEARS

“Be Afraid. Be Very Afraid”

Toronto, on – Blood in the Snow Film Festival (BITS), a unique and imaginative showcase of contemporary Canadian genre films are pleased to announce the popular Festival is back for its 13th exciting year. The highly anticipated Horror Film festival presented by Super Channel runs November 18th– 23rd at Toronto’s Isabel Bader Theatre. The successful, long running festival takes on many different faces this year that include Scary, Action Horror, Horror Comedy, Sci-Fi and Thrillers. Festival goers will be kept on the edge of their seats with this year’s powerful line-up.

Blood in the Snow Festival begins with the return of alumni (Wolf Cop) Lowell Dean’s action horror feature Dark Match featuring wrestling veteran Chris Jericho followed by the mysterious Hunting Mathew Nichols. The unexpected thrills continue with Blood in the Snow World Premiere of Pins and Needles and the Fantasia Best First Feature Award winner, Self Driver. The festival ends this year on a fun note with the Toronto Premiere of Scared Sh*tless (featuring Kids in the Hall’s Mark McKinney). Other titles include the horror anthology series Creepy Bits and Zoom call shock of Invited by Blood in the Snow alumni Navin Ramaswaran (Poor Agnes). The festival will also include five feature length short film programs including the festivals comedy horror program Funny Frights and Unusual Sights and the highly anticipated Dark Visions program, part of opening night festivities. Blood in the Snow Film Festival Director and Founder, Kelly Michael Stewart anticipates this year’s festival to be its strongest. “This was the first time in our 13 year history, all our programmers agreed on the exact same eight feature programs we have selected.”

Below is this year’s horror fest’s exciting lineup of features and shorts scheduled to screen, in-person at the Isabel Bader theatre.

**All festival features will be preceded by a short film and followed by a Q&A with filmmakers.

Tickets for the Isabel Bader Theatre lineup on sale now and can be purchased https://www.bloodinthesnow.ca

Super Channel is pleased to once again assume the role of Presenting Sponsor for the Blood in the Snow Film Festival. We extend our sincere appreciation to the entire BITS team for their unwavering commitment to amplifying the voices of diverse filmmakers and providing a platform for the celebration of Canadian genre content. – Don McDonald, the CEO of Super Channel

Blood in the Snow Festival 2024 Full screening schedule:

Monday November 18th
7pm – Dark Visions

Shiva (13:29) dir. Josh Saltzman

Shiva is an unnerving tale about a recently widowed woman who breaks with a long-held Jewish mourning ritual in hopes of connecting with her deceased husband.

How to Stay Awake (5:30) dir. Vanessa Magic

A woman fights to stay awake, to avoid battling the terrifying realm of sleep paralysis, but as she risks everything to break free, will she be released from the grip of her nocturnal tormentor?

Pocket Princess (9:45) dir. Olivia Loccisano

A young girl must take part in a dangerous task in order to complete her doll collection in this miniature fairytale.

For Rent (10:33) dir. Michèle Kaye

In her new home, Donna unravels a sinister truth—her landlord is a demon with a dark appetite. As her family mysteriously vanishes, Donna confronts the demonic landlord, only to plunge into a shadowy game where the house hungers for more than just occupants. An ominous cycle begins, shrouded in mystery.

Lucy’s Birthday (9:29) dir. Peter Sreckovic

A father struggles to enjoy his young daughter’s birthday despite a series of strange and disturbing disruptions.

Parasitic (10:00) dir. Ryan M Andrews

Last call at a dive bar, a writer struggling to find his voice gets more than he bargains for.

Naualli (6:00) dir. Adrian Gonzalez de la Pena

A grieving man seeks revenge, unwittingly awakening a mystical creature known as the Nagual.

The Saint and The Bear (6:34) dir. Dallas R Soonias

Two strangers cross paths on an ominous park bench.

The Sorrow (13:00) dir. Thomas Affolter

A retired army general and his live-in nurse find they are not alone in a house filled with dark secrets.

Cadabra (6:00) dir. Tiffany Wice

An amateur magician receives more than he anticipated when he purchases a cursed hat from the estate of his deceased hero.

9:30 – Dark Match dir. Lowell Dean Horror / Action

A small time WRESTLING COMPANY accepts a well-paying but too good to be true gig.

Tuesday November 19th
7pm – Mournful Mediums

Night Lab (15:00) dir. Andrew Ellinas

When a mysterious package arrives from one of the lab’s field research stations, a promising young researcher uncovers a conspiracy against her masterminded by her jealous boss. She soon finds herself having to grapple with her conscience before making a life-or-death decision.

Dirty Bad Wrong (14:40) dir. Erica Orofino

Desperate to keep her promise to host the best superhero party for her 6-year-old, young mother Sid, a sex worker, takes extreme measures and books a last-minute client with a dark fetish.

Midnight at the lonely river (17:00) dir. Abraham Cote

When the lights go out at a seedy little motel bar, at the crossroads of a seedy little town, nefarious happenings are taking place, and three predators are enacting their evil deeds. Enter Vicky, a drifter who quickly realizes what’s happening right under everyone’s nose. After midnight, In the shadows of this dim establishment, evil begets evil, and the predator becomes the prey.

Mean Ends (14:58) dir. Émile Lavoie

A buried body, a missing sister and an inquisitive neighbour makes for a hell of an evening. And the sun isn’t close to settling on Eric’s sh*tty day.

Stuffy (18:26) dir. Dan Nicholls

A young couple sets off in the middle of the night to bury their kid’s stuffed bunny, as one of them is convinced that the stuffy might be cursed.

Dungeon of Death (18:33) dir. Brian P. Rowe

Torturer Raullin loves a work challenge, especially if that challenge involves hurting people to extract information from them.

9:30 – Hunting Matthew Nichols (96 mins) dir. Markian Tarasiuk

Twenty-three years after her brother mysteriously disappeared, a documentary filmmaker sets out to solve his missing person’s case. But when a disturbing piece of evidence is revealed, she comes to believe that her brother might still be alive.

w/ short: Josephine (6:15) dir. John Francis Bregar

A man haunted by his past seeks forgiveness from his deceased wife, but a session with two spirit mediums leads to an unsettling encounter.

Wednesday November 20th
7pm – BITS and BYTES

Ezra (10:57) dirs. Luke Hutchie, Mike Mildon, Marianna Phung

After fleeing the dark and demonic chains of his shadowy old home, Ezra, a killer gay vampire, takes a leap of faith and enters the modern world.

Head Shop (18:14 episode 1-3) dir. Namaï Kham Po

In a post-apocalyptic world, Anna’s life and work are dominated by her father Sylvestre, a short-tempered mechanic with a terrible reputation for tearing the head off anyone who dares cross him. He decides that she’s old enough to follow in his footsteps, much to her dismay. To prove herself, she must now decapitate her first victim. Can she find a way to defy fate?

D dot H (18 :15 episodes 1-2) dirs. Meegwun Fairbrother, Mary Galloway

Struggling artist Doug is visited by the beautiful and enigmatic H, who claims he holds the power to visiting “inconceivable places.” Still half-asleep, Doug is shocked when H vanishes suddenly and her doppelganger, Hannah, strides past.

Creepy Bits: “Last Sonata” (21:08) dir.

Adrian Bobb, Ashlea Wessel, David J. Fernandes, Sid Zanforlin and Kelly Paoli.

Set among forests, lakes, and small towns, Creepy Bits is a horror anthology series helmed by five innovative filmmakers exploring themes of human vs. nature, the invasion and destruction of the natural world by outsiders, and isolation within a vast, eerie landscape that is not afraid to fight back.

Tales from the Void: “Whistle in the Woods” (24:36) dir. Francesco Loschiavo

Horror anthology TV series based on stories from r/NoSleep. Each tale blends genre thrills & social commentary exploring the dark side of the human psyche.

9:30 – Self Driver dir. Michael Pierro Thriller

Facing mounting expenses and the unrelenting pressure of modern living, a down-on-his-luck cab driver is lured on to a mysterious new app that promises fast, easy money. As his first night on the job unfolds, he is pulled ever deeper into the dark underbelly of society, embarking on a journey that will test his moral code and shake his understanding of what it means to have freewill. The question becomes not how much money he can make, but what he’ll be compelled to do to make it.

w/ short: Northern Escape (10:38) dirs. Lucy Sanci, Alexis Korotash

A couple on a cottage getaway tries to work on their relationship but ends up getting more than they bargained for when they discover something sinister lurking beneath the surface.

Thursday November 21st
7pm – Funny Frights

Midnight Snack (1:41) dir. Sandra Foisy

Hunger always strikes in the dead of night.

Hell is a Teenage Girl (15:00) dir. Stephen Sawchuk

Every Halloween, the small town of Springboro is terrorized by its resident SLASHER – a masked serial killer who targets sinful teenagers that break ‘The Rules of Horror’ – don’t drink, don’t do drugs, and don’t have sex!

Gaslit (10:36) dir. Anna MacLean

A woman goes to dangerous lengths to prove she wasn’t responsible for a fart.

Bath Bomb (9:55) dir. Colin G Cooper

A possessive doctor prepares an ostensibly romantic bath for his narcissistic boyfriend, but after an accusation of infidelity, things take a deeply disturbing turn.

Any Last Words (14:22) dir. Isaac Rathé

A crook trying to flee town is paid an untimely visit by some of his former colleagues. What would you say to save your life if you were staring down the barrel of a gun?

Papier mâché (4:30) dir. Simon Madore

A whimsical depiction of the hard and tumultuous life of a piñata.

The Living Room (9:59) dir. Joslyn Rogers

After an unexpected call from Lady Luck, Ms. Valentine must choose between her sanity and her winnings – all before the jungle consumes her.

A Divine Comedy: What the Hell (8:55) dir. Valerie Lee Barnhart
Dante’s classic Hell is falling into oblivion. Charlotte,

sharp-witted Harpy, navigates the chaos and sets out despite the odds for a new life and destiny.

Mr Fuzz (2:30) dir. Christopher Walsh

A long-limbed, fuzzy-haired creature will do whatever it takes to keep you watching his show.

Out of the Hands of the Wicked (5:00) dirs. Luke Sargent, Benjamin Hackman

After a harrowing journey home from hell, old Pa boasts of his triumph over evil, and how he came to lock the devil in his heart.

The Shitty Ride (9:13) dir. Cole Doran

Hoping to impress the girl of his dreams, Cole buys a used car but gets more than he bargained for with his shitty ride.

9:30 – Invited dir. Navin Ramaswaran Horror

When a reluctant mother attends her daughter’s Zoom elopement, she and the rest of the family in attendance quickly realize the groom is part of a Russian cult with deadly intentions.

w/ shorts: Defile dir. Brian Sepanzyk

A couple’s secluded getaway is suddenly interrupted by a strange family who exposes them to the horrors that lie beyond the tree line.

+ A Mother’s Love dir. Lisa Ovies

A young girl deals with the consequences of trusting someone online.

Friday November 22nd
7:00 pm – Creepy Bits (anthology horror series)

Creepy Bits is a short horror anthology series that explores pandemic age themes of isolation, paranoia and distrust of authority, serving them up in bite-sized chunks. Directed by Adrian Bobb, Ashlea Wessel, David J. Fernandes, Sid Zanforlin and Kelly Paoli.

9:30 – Pins and Needles (81 min) dir. James Villeneuve Horror / Thriller

Follows Max, a diabetic, biology grad student who is entrapped in a devilish new-age wellness experiment and must escape a lethal game of cat and mouse to avoid becoming the next test subject to extend the lives of the rich and privileged.

w/ short: Adjoining (11:42) dirs. Harrison Houde, Dakota Daulby

A couple’s motel stay takes a chilling turn when they discover they’re being observed, leading to unexpected consequences.

Saturday November 23rd
4pm – Emerging Screams (94 mins)

Apnea (14:58) dir. David Matheson

A single, working mother finds her career and her offbeat son’s safety in jeopardy when she discovers that her late mother is possessing her in her sleep.

Nereid (7:48) dir. Lori Zozzolotto

A mysterious woman escapes from an abusive relationship with earth shattering results.

BedLamer (15:00) dir. Alexa Jane Jerrett

On the shores of a small fishing village lives a lonely settlement of men – capturing and domesticating otherworldly creatures that were never meant to be tamed.

Blocked (6:30) dir. Aisha Alfa

A new mom is literally consumed with the futility of cleaning up after her kid.

Dance of the Faery (10:23) dir. Kaela Brianna Egert

A young woman cleans up her estranged, great aunt’s home after her death. Upon inspection, she soon realizes that her eccentric obsession with fairies was not born out of love, but of fear.

Deep End (7:36) dir. Juan Pablo Saenz

A gay couple’s heated argument during a hike spiral into a nightmare when one of them vanishes, leading the other to a mysterious cave that could reveal the chilling truth.

Ojichaag – Spirit Within (11:21) dir. Rachel Beaulieu

An emotionally devastated woman seeks comfort in her choice to end her life. As she faces death in the form of a spirit, she must decide to let herself go to fight to stay alive.

Lure (9.56) dir. Jacob Phair

A tormented father awaits the return of the man who saved his son’s life.

Let Me In (10:00) dirs. Joel Buxton, Charles Smith

A reluctant man interviews an unusual immigration candidate: himself from a doomed dimension

7:00 pm –The Silent Planet (95 mins) dir. Jeffrey St. Jules Sci-fi

An aging convict serving out a life sentence alone on a distant planet is forced to confront his past when a new prisoner shows up and pushes him to remember his life on earth

w/ short: Ascension (3:57) dir. Kenzie Yango

Deep in a remote forest, two friends, Mia and Riley, embark on a leisurely hike. As tensions run high between the two, a strange humming noise appears that seems to be coming from somewhere in the woods.

9:30 – Scared Shitless (73 mins) dir. Vivieno Caldinelli Horror / Comedy

A plumber and his germophobic son are forced to get their hands dirty to save the residents of an apartment building, when a genetically engineered, blood-thirsty creature escapes into the plumbing system.

w/ short: Oh…Canada (6:20) dir. Vincenzo Nappi

Oh, Canada. Such a wonderful place to live – WHETHER YOU LIKE IT OR NOT. A musical look into the artifice surrounding Canadian identity.

Tickets for the Isabel Bader Theatre lineup on sale now and can be purchased https://www.bloodinthesnow.ca/#festival

Follow “Blood In The Snow” Film Festival:

https://www.instagram.com/bitsfilmfest/

Media Inquiries:

Sasha Stoltz Publicity:

Sasha Stoltz | Sasha@sashastoltzpublicity.com | 416.579.4804
https://www.sashastoltzpublicity.com

Media

It’s time for a Halloween movie marathon. 10 iconic horror films

Published

2 weeks ago

October 19, 2024

Anne Joseph

Sometimes, you just have to return to the classics.

That’s especially true as Halloween approaches. While you queue up your spooky movie marathon, here are 10 iconic horror movies from the past 70 years for inspiration, and what AP writers had to say about them when they were first released.

We resurrected excerpts from these reviews, edited for clarity, from the dead — did they stand the test of time?

“Rear Window” (1954)

“Rear Window” is a wonderful trick pulled off by Alfred Hitchcock. He breaks his hero’s leg, sets him up at an apartment window where he can observe, among other things, a murder across the court. The panorama of other people’s lives is laid out before you, as seen through the eyes of a Peeping Tom.

James Stewart, Grace Kelly, Thelma Ritter and others make it good fun.

— Bob Thomas

“Halloween” (1978)

At 19, Jamie Lee Curtis is starring in a creepy little thriller film called “Halloween.”

Until now, Jamie’s main achievement has been as a regular on the “Operation Petticoat” TV series. Jamie is much prouder of “Halloween,” though it is obviously an exploitation picture aimed at the thrill market.

The idea for “Halloween” sprang from independent producer-distributor Irwin Yablans, who wanted a terror-tale involving a babysitter. John Carpenter and Debra Hill fashioned a script about a madman who kills his sister, escapes from an asylum and returns to his hometown intending to murder his sister’s friends.

— Bob Thomas

“The Silence of the Lambs” (1991)

“The Silence of the Lambs” moves from one nail-biting sequence to another. Jonathan Demme spares the audience nothing, including closeups of skinned corpses. The squeamish had best stay home and watch “The Cosby Show.”

Ted Tally adapted the Thomas Harris novel with great skill, and Demme twists the suspense almost to the breaking point. The climactic confrontation between Clarice Starling and Buffalo Bill (Ted Levine) is carried a tad too far, though it is undeniably exciting with well-edited sequences.

Such a tale as “The Silence of the Lambs” requires accomplished actors to pull it off. Jodie Foster and Anthony Hopkins are highly qualified. She provides steely intelligence, with enough vulnerability to sustain the suspense. He delivers a classic portrayal of pure, brilliant evil.

— Bob Thomas

“Scream” (1996)

In this smart, witty homage to the genre, students at a suburban California high school are being killed in the same gruesome fashion as the victims in the slasher films they know by heart.

If it sounds like the script of every other horror movie to come and go at the local movie theater, it’s not.

By turns terrifying and funny, “Scream” — written by newcomer David Williamson — is as taut as a thriller, intelligent without being self-congratulatory, and generous in its references to Wes Craven’s competitors in gore.

— Ned Kilkelly

“The Blair Witch Project” (1999)

Imaginative, intense and stunning are a few words that come to mind with “The Blair Witch Project.”

“Blair Witch” is the supposed footage found after three student filmmakers disappear in the woods of western Maryland while shooting a documentary about a legendary witch.

The filmmakers want us to believe the footage is real, the story is real, that three young people died and we are witnessing the final days of their lives. It isn’t. It’s all fiction.

But Eduardo Sanchez and Dan Myrick, who co-wrote and co-directed the film, take us to the edge of belief, squirming in our seats the whole way. It’s an ambitious and well-executed concept.

— Christy Lemire

“Saw” (2004)

The fright flick “Saw” is consistent, if nothing else.

This serial-killer tale is inanely plotted, badly written, poorly acted, coarsely directed, hideously photographed and clumsily edited, all these ingredients leading to a yawner of a surprise ending. To top it off, the music’s bad, too.

You could forgive all (well, not all, or even, fractionally, much) of the movie’s flaws if there were any chills or scares to this sordid little horror affair.

But “Saw” director James Wan and screenwriter Leigh Whannell, who developed the story together, have come up with nothing more than an exercise in unpleasantry and ugliness.

— David Germain

Germain gave “Saw” one star out of four.

“Paranormal Activity” (2009)

The no-budget ghost story “Paranormal Activity” arrives 10 years after “The Blair Witch Project,” and the two horror movies share more than a clever construct and shaky, handheld camerawork.

The entire film takes place at the couple’s cookie-cutter dwelling, its layout and furnishings indistinguishable from just about any other readymade home constructed in the past 20 years. Its ordinariness makes the eerie, nocturnal activities all the more terrifying, as does the anonymity of the actors adequately playing the leads.

The thinness of the premise is laid bare toward the end, but not enough to erase the horror of those silent, nighttime images seen through Micah’s bedroom camera. “Paranormal Activity” owns a raw, primal potency, proving again that, to the mind, suggestion has as much power as a sledgehammer to the skull.

— Glenn Whipp

Whipp gave “Paranormal Activity” three stars out of four.

“The Conjuring” (2013)

As sympathetic, methodical ghostbusters Lorraine and Ed Warren, Vera Farmiga and Patrick Wilson make the old-fashioned haunted-house horror film “The Conjuring” something more than your average fright fest.

“The Conjuring,” which boasts incredulously of being their most fearsome, previously unknown case, is built very in the ’70s-style mold of “Amityville” and, if one is kind, “The Exorcist.” The film opens with a majestic, foreboding title card that announces its aspirations to such a lineage.

But as effectively crafted as “The Conjuring” is, it’s lacking the raw, haunting power of the models it falls shy of. “The Exorcist” is a high standard, though; “The Conjuring” is an unusually sturdy piece of haunted-house genre filmmaking.

— Jake Coyle

Coyle gave “The Conjuring” two and half stars out of four.

Read the full review here.

“Get Out” (2017)

Fifty years after Sidney Poitier upended the latent racial prejudices of his white date’s liberal family in “Guess Who’s Coming to Dinner,” writer-director Jordan Peele has crafted a similar confrontation with altogether more combustible results in “Get Out.”

In Peele’s directorial debut, the former “Key and Peele” star has — as he often did on that satirical sketch series — turned inside out even supposedly progressive assumptions about race. But Peele has largely left comedy behind in a more chilling portrait of the racism that lurks beneath smiling white faces and defensive, paper-thin protestations like, “But I voted for Obama!” and “Isn’t Tiger Woods amazing?”

It’s long been a lamentable joke that in horror films — never the most inclusive of genres — the Black dude is always the first to go. In this way, “Get Out” is radical and refreshing in its perspective.

— Jake Coyle

Coyle gave “Get Out” three stars out of four.

Read the full review here.

“Hereditary” (2018)

In Ari Aster’s intensely nightmarish feature-film debut “Hereditary,” when Annie (Toni Collette), an artist and mother of two teenagers, sneaks out to a grief-support group following the death of her mother, she lies to her husband Steve (Gabriel Byrne) that she’s “going to the movies.”

A night out with “Hereditary” is many things, but you won’t confuse it for an evening of healing and therapy. It’s more like the opposite.

Aster’s film, relentlessly unsettling and pitilessly gripping, has carried with it an ominous air of danger and dread: a movie so horrifying and good that you have to see it, even if you shouldn’t want to, even if you might never sleep peacefully again.

The hype is mostly justified.

— Jake Coyle

Coyle gave “Hereditary” three stars out of four.

Read the full review here. ___

Researcher Rhonda Shafner contributed from New York.

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